Encompassing vintage and contemporary collaborative guitar amp and cab simulations alongside Antelope Audio’s augmentations of legendary studio gear, the four new vintage compressors consummately capture the spirit of the company’s commitment to revolutionising the digital audio interface world with its custom FPGA; this not only guarantees the lowest sound latency on the market when creating and streaming multiple mixes, but bestows upon those trailblazing and desirable devices huge hardware modelling capabilities — compression-centric or otherwise!

​First out of the new compression starting gate is Antelope Audio’s all-new BA-6A, following in the footsteps of a Fifties-vintage legendary limiting amplifier’s beautiful, effective, and simple design. The hardware unit was originally created for television and radio broadcasting purposes, but became a firm favourite with recording engineers as it was so easy to use and sounded so satisfying. Today that not only holds up, but it is still sought after and used in some significant professional studio facilities globally. Generating three-stage amplification with a moderate drive, hard knee compression, fast attack, and medium release, BA-6A brings a balanced, vintage sound to the present-day production table. Tame the most aggressive and peaking instruments or the wildest mixes without loosing sight or sound of any musical punch!

Anyone seeking some seriously punchy, classic-style compression could — and should — consider FET-A78 nothing short of a serious contender. Historically, its superlative sound supports innumerable pop and rock recordings. Remarkable when processing instruments individually, it is incredibly flexible; try treating drums, guitars, or vocals. Versatility continues when also applied to tracked groups — such as backing vocals, overheads, and stacked synths — or even sound design duties... doesn’t disappoint! Use it in stereo mode or pour it over overly dynamic bass lines so that they finally behave themselves in the mix!

​Moving on, as an Eighties classic, SMT-100A is one of the easiest compressor effects to get used to working with. Fortunately for all users, its ease of use does not mean sacrificing sound or effectiveness. Attracted to its fast attack times — perfect for vocals, drums, and punchy bass, the original unit has been the preferred choice amongst audio professionals at the top of their game for over 30 years. Yet Antelope Audio has worked hard to preserve the special sound of this simplistic design and control set in the FPGA domain so users can focus on getting that sound — the smooth touch of vacuum tubes, in other words... without having to technically geek out to master this exceptional Eighties legend!

​Rounding out this triumphant quadrilogy of compression, Grove Hill LIVERPOOL is a contemporary fusion of finest American and British compression technologies, making for a familiar yet fresh sound. While its origins can be traced back to the Sixties — a memorable musical era when iconic gear helped shape iconic artists, laying the foundations for unmistakably analogue-flavoured classic rock ’n’ roll records, it is as at home on lush, modern pop productions as it is on classic rock. Rotary knobs for controlling INPUT gain, THRESHOLD, ATTACK time, RECOVERY time, and OUTPUT ATTENUATOR (dB) gain guarantee gorgeous tube compression sounds that are rich, wide, and thick, thanks to their highly interactive nature. Now users of Antelope Audio’s best- in-class audio interfaces can clearly bring body and soul to acoustic guitars; smooth out the midrange of guitar leads, synths, and vocals; or throw it on bass parts for fat, warm sounds. Pushed harder, Grove Hill LIVERPOOL responds in kind, adding a desirable edge without adversely affecting clarity.

BA-6A, FET-A78, and SMT-100A are already available for Antelope Audio’s Orion 32HD, Goliath HD, Orion Studio Rev. 2017, Orion Studio, and Orion Studio HD audio interfaces (with Goliath, Orion 32+, Zen Tour, and Zen Studio+ coming soon), while Grove Hill LIVERPOOL is already available for Antelope Audio’s HDX audio interfaces — Orion Studio HD, Orion 32HD, and Goliath HD — with the rest coming soon. So the addition of these four new compressors to its ever-expanding library of FPGA vintage hardware-based effects enables owners of Antelope Audio’s acclaimed Thunderbolt™ and HDX audio interfaces to ultimately access even more unique hardware models of some of the most desirable vintage effects with real-time performance without relying on DSP or native processing while letting loose with the alternative Antelope Audio Routing Matrix view.
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Visually, this GUI (Graphical User Interface) allows for fast and intuitive linking between audio interface inputs and outputs, including multiple-channel routing. Usefully, users can now also save and load presets — even across different devices from Antelope Audio! Alternatively, the original Antelope Audio Routing Matrix view is designed to achieve the same result — route inputs to outputs, only the connections are displayed differently. Users can simply switch modes from within the Control Panel desktop software, selecting whatever works best for their workflow. With Antelope Audio, the choice is out there... in more ways than one!

Freely route and compress to impress with those four new vintage compressors for Antelope Audio’s best-in-class audio interfaces, including powerful processing that can now support up to 32 instances of vintage compressors and 40 EQs, ever widening the scope of creativity available to their ever- expanding user base. Better still, like all Antelope Audio’s free FPGA models, the tonal characteristics of the vintage circuits involved in the original units are authentically recreated... mix and match for a self-contained compression- and EQ-enhanced mixing solution like no other!

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